From the Eden of Picasso, Warhol and Watergate: satire, despite everything

Swaying, surrounded by artists, wives and lovers, and under the direction of the composer Igor Stravinsky, Pablo Picbado He appreciates his Eden, which was designed by the American artist Red Grooms in 1976 and which houses today the 39th. exhibition "Sense of humor", in the National Gallery of Art of the Smithsonian Network, in Washington

The Enjoyment of the Malaga Artist is captured in " Picbado goes to paradise", which can be found in front of "Vota a McGov ern ", l a work with which Andy War Hol sought to influence the 1972 US elections, where the Republican was victorious Richard Nixon, who resigned in 1974 for the Watergate scandal.

The work of the American was intended to raise funds for the Democratic Candidate, George McGovern, and in this can be seen the portrait of Nixon on an orange background, wearing a pink jacket and with the heavenly face.

L to Warhol's formula was clear: to present the agitation that caused him the President of the United States then through aggressive coloring to praise his favorite, which is reported by a writing that concretizes his irony against Nixon, "Vota a McGovern."

Among the criticisms addressed to political representatives stands out " Barriga Legislativa ", a lithograph of 1834 prepared by the French Honoré Daumier, in which we can see dozens of Conservative deputies lying on the ground.

Parliamentarians, whose bellies focus the spectator's gaze, speak and read, evicting his constitutional duties in the scene of Daumier, who was sentenced to prison for his work.

The drawing has since been used as a vehicle for criticism against the political clbad of different countries, regardless of the ideological spectrum that one seeks to ironic.

A year after Daumier devised this piece, the laws against political caricature increme The restrictions were imposed, that is why the French chose to avoid calls to specific characters and decided to create invented politicians to sharpen his satire.

From the caricature of the Renaissance to the counter-culture of the 1960s By going through the eighteenth-century British satire, the exhibition collects the different versions of what has always been a means of social change: the critique humorous.

At the end of the eighteenth, Francisco de Goya h he developed his series "Los Caprichos", among which are various questions of the society of the moment as in " They are already plucked " where he directs his humor against the relationship between prostitutes and their clients, represented as birds without plumage that bad workers throw out of the room.

The dark work of Goya was influenced by the British satirical masters of the time, particularly William Hogarth and James Gillray

Between the eighteenth and nineteenth century, significant changes have occurred in this area of ​​graphic design, with some artists having begun to focus on it.

The complexity of signifiers in illustrations, prints, cartoons, and comics varies over the years, more or less dealing with the censorship of power and seeking formulas to get around their gags.

Humor became the source from which multiple artists drank in the second half of this twentieth century, when the world of comics, among others, was also highly developed by the hand of Robert Crumb

In this stage, the irony of the work of Rupert García, at the apogee of the anti-racist movement in the United States , against the supposed hypocrisy of the whites who used the image of African Americans for their advertising; the concept is embodied in "More of this shit."

Sarcasm also opens the gap in the spectacle accompanied by the feminism of Chicas de la Guerrilla, the artistic collective created in 1985 to respond to the inequality between men and women in the sector. EFE